Thomastik Infeld Red and Blue strings are relatively insensitive to humidity changes, break in quickly, and have a relatively low tension. A new synthetic, composite core gives Infeld Red and Blue strings a full sound and a longer life span than other synthetic strings. The Infeld strings are also responsive to different playing techniques. Red strings have a darker tonal quality and Blue has a brighter tonality. Each corresponding individual string, Red or Blue, has the same tension. This allows the player to achieve tonal preference in a single string brand without the headaches of uneven tension. Removeable ball on E string.

The Infeld 'Blue' and 'Red' strings are very easy for the player, because tension is lower than other strings. In higher positions, they are much more easy to 'push down' quickly than most other strings.

The 'E' in the two sets are probably the same string, because they appear to be a simple steel cord (thinner than some). On my high-quality violin, the 'E' sounds pretty good - better than I would have expected from a thin, low-tension String. But I dislike the plastic 'filter' and I always cut it off. (I feel that it is better to have parchment built into the Bridge.) Also, the E-string comes with a Ball end, leading to a difficult choice between two evils:(1) You can remove the ball, but twisting and bending the loop to do so is likely to weaken it a great deal - creating a risk of a broken loop crashing into the top of your instrument (behind the bridge). Or(2) You can use one of the "ball end" tuners, which holds the end of the string far too close to the bridge (compromising tone). I currently do this, instead of risking the broken loop.

In the lower strings (G,D,A), the 'Blue' set creates a lot of brightness with volume, at the cost of losing the 'reed-like' character of many fine violins (the classic Guarneri Del Jesu sound). The special trick with these strings is, you can choose 'Blue' or 'Red' individually, depending on the characteristic which you need to enhance on that particular string. And the strings all 'feel' and play the same.

On my own Violin, the G tends to sound very dark with most strings. When the music crosses over to a D-String of the same brand and model, there is a dramatic loss of that character - there is disturbing change for the listeners. With Infeld Blue and Red, the strings themselves provide a pretty effective solution: Blue 'G', with more "brilliance" added, combined with Red 'D', increasing the reed-like "thickness" on that string. (BTW, I use 'Blue' as the 'A', to reduce the contrast between 'A' and 'E' tonalities.

Great strings, for the particular purpose of mixing to overcome violin tonal "issues" from one string to the next. And, If you simply need increased brightness and "cut-through" character overall, you might still find that a set of all 'Blue' sounds better, and plays easier, than a set of Dominants.

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